AbstractHistoryArchive Description

Australian musician Lisa Sheehan has got life sussed, but then, one-by-one, her fans start to turn up dead, their bodies hideously mutilated, and Lisa is haunted by memories that are not her own. Can these 20th-century murders be linked to events in Elizabethan England? (Source: LibrariesAustralia)

Notes

Alternative title used as pre-publication title only.

Dedication: Dedicated to the memory of Lyall Wilkins, who would have been impossibly proud.

Works about this Work

The Australian Horror Novel Since 1950James Doig,
2012single work criticism — Appears in:
Sold by the Millions : Australia's Bestsellers2012;(p. 112-127)AbstractAccording to James Doig the horror genre 'was overlooked by the popular circulating libraries in Australia.' In this chapter he observes that this 'marginalization of horror reflects both the trepidation felt by the conservative library system towards 'penny dreadfuls,' and the fact that horror had limited popular appeal with the British (and Australian) reading public.' Doig concludes that there is 'no Australian author of horror novels with the same commercial cachet' as authors of fantasy or science fiction. He proposes that if Australian horror fiction wants to compete successfully 'in the long-term it needs to develop a flourishing and vibrant small press contingent prepared to nurture new talent' like the USA and UK small presses.' (Editor's foreword xii)

The Australian Horror Novel Since 1950James Doig,
2012single work criticism — Appears in:
Sold by the Millions : Australia's Bestsellers2012;(p. 112-127)AbstractAccording to James Doig the horror genre 'was overlooked by the popular circulating libraries in Australia.' In this chapter he observes that this 'marginalization of horror reflects both the trepidation felt by the conservative library system towards 'penny dreadfuls,' and the fact that horror had limited popular appeal with the British (and Australian) reading public.' Doig concludes that there is 'no Australian author of horror novels with the same commercial cachet' as authors of fantasy or science fiction. He proposes that if Australian horror fiction wants to compete successfully 'in the long-term it needs to develop a flourishing and vibrant small press contingent prepared to nurture new talent' like the USA and UK small presses.' (Editor's foreword xii)